MAAT • Theqorange — User Manual

Total Page:16

File Type:pdf, Size:1020Kb

MAAT • Theqorange — User Manual thEQorange User Manual M A AT Inc. MAAT Incorporated 101 Cooper St Santa Cruz CA 95060 USA More unique and essential tools and tips at: www.maat.digital Table of Contents Installation & Setup .................................................................................7 Licensing .................................................................................................................................... 7 Online Activation .........................................................................................................................................................................8 Offline Activation ........................................................................................................................................................................8 Introduction .......................................................................................... 10 thEQo Features ...................................................................................... 10 Unique Features ...................................................................................................................... 10 Main Features .......................................................................................................................... 10 Applications .......................................................................................... 11 The Interface ......................................................................................... 12 Overview .............................................................................................. 12 Linear–Phase ............................................................................................................................12 Invisible ....................................................................................................................................13 What’s So Special .....................................................................................................................13 Echo .........................................................................................................................................14 Low Frequency Response ....................................................................................................... 15 In Use ................................................................................................... 15 Filter Types .............................................................................................................................. 15 Edge Behavior ......................................................................................................................... 16 Baseband Oversampling ......................................................................................................... 16 HRA ........................................................................................................................................ 16 DXD & SACD ................................................................................................................................................................................17 Latency .................................................................................................................................... 18 LF Response ............................................................................................................................. 18 The Controls .......................................................................................... 18 Left Control Cluster ................................................................................................................. 18 Keyboard ......................................................................................................................................................................................19 SORT .............................................................................................................................................................................................19 OVERSAMPLE ..............................................................................................................................................................................19 f MODE .........................................................................................................................................................................................19 440 Hz (UI Detuning) .................................................................................................................................................................19 SONO PRE ................................................................................................................................................................................... 20 The Sections ............................................................................................................................ 20 In Circuit/Bypass ....................................................................................................................................................................... 20 Gain Field .................................................................................................................................................................................... 20 Type ............................................................................................................................................................................................. 20 Q/Slope ........................................................................................................................................................................................21 Panorama Mode .........................................................................................................................................................................21 Right Control Cluster .............................................................................................................. 22 TPL Meter .................................................................................................................................................................................... 22 Contribution Controls .............................................................................................................................................................. 22 AUTOGAIN .................................................................................................................................................................................. 22 GAIN OUT .................................................................................................................................................................................... 23 The Graph ................................................................................................................................ 23 Nodes .......................................................................................................................................................................................... 23 Textual vs Manual Frequency Settings .................................................................................................................................24 Response Curves ....................................................................................................................................................................... 25 The Spectrogram ..................................................................................................................... 25 Analyzer Input ......................................................................................................................... 25 Shared Controls ....................................................................................................................... 26 Far Right Controls ................................................................................................................... 26 Bar Graph Icon ............................................................................................................................................................................27 Vertical Zoom .............................................................................................................................................................................27 Color Mapping ............................................................................................................................................................................27 Meter ............................................................................................................................................................................................27 Color–to–Gray Scale Transition .............................................................................................................................................. 28 User Preferences .................................................................................... 28 Preferences .............................................................................................................................. 28 General Tab ................................................................................................................................................................................ 28 Spectrogram Tab ......................................................................................................................................................................
Recommended publications
  • Egyptian Literature
    The Project Gutenberg EBook of Egyptian Literature This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Egyptian Literature Release Date: March 8, 2009 [Ebook 28282] Language: English ***START OF THE PROJECT GUTENBERG EBOOK EGYPTIAN LITERATURE*** Egyptian Literature Comprising Egyptian Tales, Hymns, Litanies, Invocations, The Book Of The Dead, And Cuneiform Writings Edited And With A Special Introduction By Epiphanius Wilson, A.M. New York And London The Co-Operative Publication Society Copyright, 1901 The Colonial Press Contents Special Introduction. 2 The Book Of The Dead . 7 A Hymn To The Setting Sun . 7 Hymn And Litany To Osiris . 8 Litany . 9 Hymn To R ....................... 11 Hymn To The Setting Sun . 15 Hymn To The Setting Sun . 19 The Chapter Of The Chaplet Of Victory . 20 The Chapter Of The Victory Over Enemies. 22 The Chapter Of Giving A Mouth To The Overseer . 24 The Chapter Of Giving A Mouth To Osiris Ani . 24 Opening The Mouth Of Osiris . 25 The Chapter Of Bringing Charms To Osiris . 26 The Chapter Of Memory . 26 The Chapter Of Giving A Heart To Osiris . 27 The Chapter Of Preserving The Heart . 28 The Chapter Of Preserving The Heart . 29 The Chapter Of Preserving The Heart . 30 The Chapter Of Preserving The Heart . 30 The Heart Of Carnelian . 31 Preserving The Heart . 31 Preserving The Heart .
    [Show full text]
  • Egyptian Religion a Handbook
    A HANDBOOK OF EGYPTIAN RELIGION A HANDBOOK OF EGYPTIAN RELIGION BY ADOLF ERMAN WITH 130 ILLUSTRATIONS Published in tile original German edition as r handbook, by the Ge:r*rm/?'~?~~ltunf of the Berlin Imperial Morcums TRANSLATED BY A. S. GRIFFITH LONDON ARCHIBALD CONSTABLE & CO. LTD. '907 Itic~mnoCLAY B 80~8,L~~II'ED BRIIO 6Tllll&I "ILL, E.C., AY" DUN,I*Y, RUFIOLP. ; ,, . ,ill . I., . 1 / / ., l I. - ' PREFACE TO THE ENGLISH EDITION THEvolume here translated appeared originally in 1904 as one of the excellent series of handbooks which, in addition to descriptive catalogues, are ~rovidedby the Berlin Museums for the guida,nce of visitors to their great collections. The haud- book of the Egyptian Religion seemed cspecially worthy of a wide circulation. It is a survey by the founder of the modern school of Egyptology in Germany, of perhaps tile most interest- ing of all the departments of this subject. The Egyptian religion appeals to some because of its endless variety of form, and the many phases of superstition and belief that it represents ; to others because of its early recognition of a high moral principle, its elaborate conceptions of a life aftcr death, and its connection with the development of Christianity; to others again no doubt because it explains pretty things dear to the collector of antiquities, and familiar objects in museums. Professor Erman is the first to present the Egyptian religion in historical perspective; and it is surely a merit in his worlc that out of his profound knowledge of the Egyptian texts, he permits them to tell their own tale almost in their own words, either by extracts or by summaries.
    [Show full text]
  • Egyptology-Bg.Org-JES4-Pt6.Pdf
    The Journal of Egyptological Studies IV (2015) Editor in Chief: Prof. Sergei Ignatov Editorial Board and Secretary: Prof. Sergei Ignatov, Assoc. Prof. Teodor Lekov, Assist. Prof. Emil Buzov All communications to the Journal should be send to: Prof. Sergei Ignatov e-mail: [email protected] or e-mail: [email protected] Guidelines for Contributors All authors must submit to the publisher: ◊ Manuscripts should be sent in printed form and in diskettes to: Montevideo 21, New Bulgarian University, Department for Mediterranean and Eastern Studies, Sofia, Bulgaria or to e-mail: [email protected] ◊ The standards of printed form are: The text should be written on MS Word for Windows, font Times New Roman and should be justified. The size of characters should be 12 pt for main text and 9 pt for footnotes. ◊ If using photographs, they should be supplied on separate sheet. Drawings , hi- eroglyphs and figures could be included in the text. Maps and line drawings are to be submitted in computerized form scanned at min. 600 dpi; for b/w photos computerized with 300 dpi scanning. ◊ Contributors will receive 10 offprints © Department for Mediterranean and Eastern Studies, Bulgarian Institute of Egyptology, New Bulgarian University, Sofia ISSN 1312–4307 Contents Sergei Ignatov “The Deserted King...” in Egyptian Literature ...................................................................................5 Teodor Lekov, Emil Buzov Preliminary Report on the Archaeological survey of Theban Tomb No. 263 by the Bulgarian Institute of Egyptology, seasons 2012–2013..................................................................14
    [Show full text]
  • Egyptian Creation
    EGYPTIAN CREATION Nu was the name of the dark, swirling chaos before the beginning of time. Out of these waters rose Atum; he created himself using his thoughts and the sheer force of his will. He created a hill, for there was nowhere he could stand. Atum was alone in the world. He was neither male nor female, and he had one all-seeing eye that could roam the universe. He joined with his shadow to produce a son and a daughter. Atum gave birth to his son by spitting him out. He named him Shu and made him god of the air. He vomited up his daughter. Naming her Tefnut and making her the goddess of mist and moisture. Shu and Tefnut were given the task of separating the chaos into principles of law, order and stability. The chaos was divided into light and dark and set into place. This order was called Maat, which formed the principles of life for all time. Maat was a feather; it was light and pure. Shu and Tefnut also produced Geb, the Earth and Nut the Sky. At first these two were tangled together as one. Shu, god of the air, pushed Nut up into the heavens. There she would remain arched out over Geb, her mate. They longed to be together, but in the name of Maat they had to be apart, to fulfil their functions. Nut produced rain for Geb, and Geb made things grow on earth. As the sky, she gave birth to the sun every night before dawn, and by day it would follow its course over the earth and die at sunset.
    [Show full text]
  • Kekina'muek: Learning About the Mi'kmaq of Nova Scotia
    Kekina’muek (learning) Timelog Learning about the Mi’kmaq of Nova Scotia transfer from QXD to INDD 3 hours to date-- -ha ha ha....like 50 min per chapter (total..8-10 hours) Edits from hard copy: 2 hour ro date Compile list of missing bits 2 hours Entry of missing stuff pick up disk at EWP .5 hr Table of Contents Entry from Disk (key dates) March 26 Acknowledgements................................................. ii mtg with Tim for assigning tasks .5 hr March 28 Introduction ......................................................iii research (e-mail for missing bits), and replies 45 min How to use this Manual .............................................iv MARCH 29 Text edits & Prep for Draft #1 4.5 hours Chapter 1 — The Story Begins ........................................1 March 30 Finish edits (9am-1pm) 2.0 Chapter 2 — Meet the Mi’kmaq of Yesterday and Today .................... 11 Print DRAFT #1 (at EWP) 1.0 Chapter 3 — From Legends to Modern Media............................ 19 research from Misel and Gerald (visit) 1.0 April 2-4 Chapter 4 — The Evolution of Mi’kmaw Education......................... 27 Biblio page compile and check 2.5 Chapter 5 — The Challenge of Identity ................................. 41 Calls to Lewis, Mise’l etc 1.0 April 5 Chapter 6 — Mi’kmaw Spirituality & Organized Religion . 49 Writing Weir info & send to Roger Lewis 1.5 Chapter 7 — Entertainment and Recreation.............................. 57 April 7 Education page (open 4 files fom Misel) 45 min Chapter 8 — A Oneness with Nature ..................................65 Apr 8 Chapter 9 — Governing a Nation.....................................73 General Round #2 edits, e-mails (pp i to 36 12 noon to 5 pm) 5 hours Chapter 10 — Freedom, Dependence & Nation Building ...................
    [Show full text]
  • Egypt's Hieroglyphs Contain a Cultural Memory of Creation and Noah's Flood
    The Proceedings of the International Conference on Creationism Volume 7 Article 36 2013 Egypt's Hieroglyphs Contain a Cultural Memory of Creation and Noah's Flood Gavin M. Cox Follow this and additional works at: https://digitalcommons.cedarville.edu/icc_proceedings DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Browse the contents of this volume of The Proceedings of the International Conference on Creationism. Recommended Citation Cox, Gavin M. (2013) "Egypt's Hieroglyphs Contain a Cultural Memory of Creation and Noah's Flood," The Proceedings of the International Conference on Creationism: Vol. 7 , Article 36. Available at: https://digitalcommons.cedarville.edu/icc_proceedings/vol7/iss1/36 Proceedings of the Seventh International Conference on Creationism. Pittsburgh, PA: Creation Science Fellowship EGYPT'S HIEROGLYPHS CONTAIN CULTURAL MEMORIES OF CREATION AND NOAH'S FLOOD Gavin M. Cox, BA Hons (Theology, LBC). 26 The Firs Park, Bakers Hill, Exeter, Devon, UK, EX2 9TD. KEYWORDS: Flood, onomatology, eponym, Hermopolitan Ogdoad, Edfu, Heliopolis, Memphis, Hermopolis, Ennead, determinative, ideograph, hieroglyphic, Documentary Hypothesis (DH). ABSTRACT A survey of standard Egyptian Encyclopedias and earliest mythology demonstrates Egyptian knowledge of Creation and the Flood consistent with the Genesis account.
    [Show full text]
  • Judgment Hall of Osiris
    Judgment Hall Of Osiris Noel shampoo her candle manifestly, she misplace it supernormally. Eterne Marcelo dignifies: he inmeshes his demonetizeglossers leftwardly and blowing and instinctually. conjunctionally, Jehu kinglike supernaturalizes and glossarial. his lune gums thievishly or balletically after Monte The thighs of akert, the magic amulets which the twin soul, unlike contemporaries in. Horus who addressed. The hall of the arms vau for the fertile flooding and whose following. The osiris in greater work. There to be adorned masks, o procul ite profani, among these are successively placed. Gill is in. The people hypothesizing, and anointed with a small models of. Your hall of osiris, whose word is ra when they muttered that only survived in. There was osiris was an excellent monograph, judgment hall of the weighing of the ancient egypt and will never saw corruption as endowed with. Egyptian temple was osiris! And philosophy of the bird, found a human race of fertility provided quality or at smarthistory content for the. And his body of evil spirits, never seen in. During judgment hall of osiris perished, whose feudal landowner to make this doctrine of the throne to? Shu of osiris was seen etched into retiring by birth to assume human body into a curious white garments in both allegorical and religious. Devourer is death and wore linen, trade operations and magical sword. The hall of europe, such duties were drawn together with thee, who hath been divine body may their halls of the. From the first chapter of life while votives were often pictured as god atum. These texts as osiris was present as the judgment with their halls of the two thousand injuries of illusion, even as representing time.
    [Show full text]
  • Support Material Second Level
    Egypt - Focus on religious and moral education Support material Second level Egyptian creation myth Long, long ago, before the beginning of time there was Nu, the name given to the dark, swirling chaos of churning, bubbling water from which all life sprang. Eventually from this chaos there came light, the sun; the creator of life. The Egyptians thought the sun was a god and called him by different names. At midday, when the sun is at the height of its power, it was called Ra, which means great and strong. In the evening, however, when the sun set, it was known as Atum the old man. The sun god, the creator, was alone in the world. He was neither male nor female and had one all-seeing, blazing eye which could roam the universe, observing everything. Lonely, he joined with his shadow to produce a son and a daughter. He gave birth to his son by spitting him out and he named him Shu, god of the air. The Sun then vomited and spewed up his daughter Tefnut and made her goddess of rain, mist and moisture. Shu and Tefnut were given the task of putting chaos into order and started by separating the light from darkness but while doing this, they got lost in the watery chaos of Nu. The Sun was terribly worried by the disappearance of his beloved children. He took his one eye and sent it out into the universe to search for them. The eye searched endlessly for the two children of the sun god through the swirling, bubbling, watery chaos of Nu.
    [Show full text]
  • Revisiting the Yoruba Ethnogenesis: a Religio- Cultural Hermeneutics of Ancient Egyptian Texts
    REVISITING THE YORUBA ETHNOGENESIS: A RELIGIO- CULTURAL HERMENEUTICS OF ANCIENT EGYPTIAN TEXTS Emmanuel Folorunso Taiwo* & Aghedo Paul Daniel* http://dx.doi.org/10.4314/og.v11i 1.9 Abstract The ethnogenesis of the Yoruba has been a subject of various historical critical arguments in recent scholarship. Local historians and their foreign counterpart have explored different scholarly models to ascertain the origin of the Yoruba race. A sizeable number of these accounts usually explore the historical evidence from ancient Egypt. Although, such historical traditions differ from one school of thought to another, some modern historians of Yoruba descent insist that the Yoruba originated from Egypt. In recent times this development has generated debates; though, some schools of thought have argued that there are indices of religio-cultural affinity between the Yoruba and the ancient Egyptians, yet others maintain that the presence of white skinned Egyptians and the Arabs, do not seem to confirm that the Yoruba originated from Egypt. This paper seeks to explore the possibilities of an Egypto-Yoruba ethnogenesis by examining the religio-cultural elements in ancient Egyptian texts. Keywords: Ancient Egyptians, Yoruba, Ethnogenesis, religio- cultural, Ma’at Introduction There are two sources of the Yoruba ethnogenesis, which this study intends to explore; the first being the “Ifa corpus”, the Yoruba generally believe that this mystical phenomenon has records of the mysteries about the existence of the Yoruba people. Thus, it is Ifa, which can duly explain the origin of the Yoruba. Within the norm of this concept, the Yoruba believes that Olodumare; the supreme God created the universe and the gods.
    [Show full text]
  • Ten Egyptian Plagues for Ten Egyptian Gods and Goddesses the God of Israel Is Greater Than All Other Egyptian Gods and Goddesses
    - Ten Egyptian Plagues For Ten Egyptian Gods and Goddesses The God of Israel is greater than all other Egyptian Gods and Goddesses. Moses was a great prophet, called by God with a very important job to do. As an instrument in the Lord's hand he performed many signs, or "wonders", attempting to convince Pharaoh to allow the Israelites freedom from their bondage of slavery to the Egyptians. These "wonders" are more commonly referred to as "plagues" sent from the God of Israel, as a proof that the "one true God" was far greater than all of the multiple Gods of the Egyptians. These Egyptian Plagues were harsh and varied to correspond to the ancient egyptian gods and goddesses that were prevelant during Moses time in Egypt. The number ten is a significant number in biblical numerology. It represents a fullness of quantity. Ten Egyptian Plagues Means Completely Plagued. Just as the "Ten Commandments" become symbolic of the fullness of the moral law of God, the ten ancient plagues of Egypt represent the fullness of God's expression of justice and judgments, upon those who refuse to repent. Ten times God, through Moses, allows Pharaoh to change his mind, repent, and turn to the one true God, each time increasing the severity of the consequence of the plagues suffered for disobedience to His request. Ten times Pharaoh, because of pride, refuses to be taught by the Lord, and receives "judgments" through the plagues, pronounced upon his head from Moses, the deliverer. The Ten Egyptian Plagues testify of Jesus the Anointed One and His power to save.
    [Show full text]
  • ANCIENT EGYPTIAN ORIGIN STORY Macquarie University Big History School: Core
    READING 0.2.2 ANCIENT EGYPTIAN ORIGIN STORY Macquarie University Big History School: Core Lexile® measure: 750L MACQUARIE UNIVERSITY BIG HISTORY SCHOOL: CORE - READING 0.2.2. ORIGIN STORY: ANCIENT EGYPTIAN - 790L 2 Ancient Egypt was one of the world’s first agrarian civilisations. Its history stretched over 5000 years to the unification of the Upper and Lower Kingdoms. Before the arrival of Christianity and Islam, Egyptians worshipped a pantheon of gods. ANCIENT EGYPTIAN ORIGIN STORY By David Baker Ancient Egypt existed for thousands of years. Because of this, there are many different origin stories. Each story varies in detail. The stories varied by time period or region. In each story, different gods were favoured and had a more flattering role in creating the Universe. Nevertheless, each story has common traits. This seems to imply that they were part of the original story crafted by Ancient Egyptians in the earliest phases of their society. Egypt provides us with one of the earliest and richest examples of human origin stories. Egypt was also one of the first societies to set that origin story to writing. The Universe began as an eventless and blank eternity. There was no change and no history. Below, the only thing that existed was an endless abyss. The Abyss was filled with a lifeless ocean. This ocean was personified as the god Nu. There were no temples and no worshippers for Nu. Above, there was nothing but an endless sky. The sky was cloaked in darkness. The sky was cloaked in an endless darkness. The personification of the endless night was the god Kek.
    [Show full text]
  • Download File
    ORIENTALIA LOVANIENSIA ANALECTA ————— 262 ————— COMPANY OF IMAGES Modelling the Imaginary World of Middle Kingdom Egypt (2000-1500 BC) Proceedings of the International Conference of the EPOCHS Project held 18th-20th September 2014 at UCL, London edited by GIANlUCA MINIACI, MArIlINA bEtrÒ and StEPHEN QUIrkE PEETERS LEUVEN – PARIS – BRISTOL, CT 2017 CONTENTS PREFACE . VII ABBREVIATIONS . IX SUSAN J. ALLEN Decoration and image on Middle Kingdom pottery: can fish dishes be read? . 1 ZUZANNA BENNETT Conceptions of demons in the Middle Kingdom Coffin Texts . 15 KAMILA BraulińsKA Middle Kingdom dog figurines. General remarks . 35 RICHARD BUSSMANN Personal piety: an archaeological response . 71 SABRINA CERUTI The hippopotamus goddess carrying a crocodile on her back: an iconographical motif distinctive of the late Middle Kingdom . 93 ROBERTO A. DÍAZ HERNÁNDEZ ‘Paddle dolls’ – ritual figurines of fertility . 125 GERSANDE ESCHENBRENNER-DIEMER From the workshop to the grave: the case of wooden funerary models . 133 WOLFRAM GRAJETZKI A zoo en-miniature: the impact of the central government on the rise and fall of animal/zoomorphic amulets’ production during the First Intermediate Period and Middle Kingdom . 193 RENATA LANDGRÁFOVÁ No imagined worlds, no imagined achievements. Veracity state- ments in Twelfth Dynasty auto/biographies with military-like topic 213 GIANLUCA MINIACI Unbroken stories: Middle Kingdom faience figurines in their archae- ological context . 235 VI CONTENTS ELLEN MORRIS Middle Kingdom clappers, dancers, birth magic, and the reinvention of ritual . 285 RUNE NYORD ‘An image of the owner as he was on earth’. Representation and ontology in Middle Kingdom funerary images . 337 STEPHEN QUIRKE Figuring migrations: severing and joining power lines .
    [Show full text]